The Practical Trumpet Grade 7 exam consists of three pieces, chosen by the candidate from the appropriate lists in the current syllabus, scales and arpeggios, sight-reading and aural tests.
Total marks in all individual Practical exams are 150. 100 marks are required to achieve pass, 120 marks to pass with Merit and 130 marks to pass with Distinction.
Find out about our Performance Grades, an alternative route to a graded music exam.
Candidates for Grade 6, 7 or 8 exams must already have passed ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a solo Jazz instrument. For full details including a list of accepted alternatives, see Regulation 1d.
The Practical Trumpet Grade 7 exam consists of three pieces, chosen by the candidate from the appropriate lists in the current syllabus, scales and arpeggios, sight-reading and aural tests.
Total marks in all individual Practical exams are 150. 100 marks are required to achieve pass, 120 marks to pass with Merit and 130 marks to pass with Distinction.
Find out about our Performance Grades, an alternative route to a graded music exam.
The Practical Trumpet / Cornet / Flugelhorn Grade 7 exam consists of three pieces, chosen by the candidate from the appropriate lists in the current syllabus, scales and arpeggios, sight-reading and aural tests. Total marks in all individual Practical exams are 150. 100 marks are required to achieve a Pass, 120 marks to pass with Merit and 130 marks to pass with Distinction.
Find out about our Performance Grades and alternative route to a graded music exam.
The Trumpet / Cornet / Flugelhorn requirements and information provide a summary of the most important points that teachers and candidates need to know when taking ABRSM Trumpet / Cornet / Flugelhorn exams.
They are detailed within the exam sections below (Pieces, Scales and arpeggios, Sight-reading (and Transposition) and Aural tests), immediately after the grade-specific requirements, and are available to download here.
Further details, as well as administrative information relating to the exams, are given in ABRSM’s Information & Regulations which should be read before an exam booking is made.
There are eight grades of exam for Trumpet / Cornet / Flugelhorn and candidates may be entered for any grade irrespective of age and without previously having taken any other grade on Trumpet / Cornet / Flugelhorn. Candidates for a Grade 6, 7 or 8 exam must already have passed ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or a solo Jazz instrument; for full details, including a list of accepted alternatives, see Regulation 1d.
Examiners: Generally, there will be one examiner in the exam room; however, for training and quality assurance purposes, a second examiner may sometimes be present. Examiners may ask to look at the music before or after the performance of a piece (a separate copy is not required: the candidate’s or accompanist’s copy will suffice). Examiners may also decide to stop the performance of a piece when they have heard enough to form a judgment. They will not issue, or comment on, a candidate’s result; instead, the mark form (and certificate for successful candidates) will be issued by ABRSM after the exam.
Tuning: In Grades 1–5, the teacher or accompanist may help tune the candidate’s instrument before the exam begins. In Grades 6–8, candidates must tune their instruments themselves. Examiners are unable to help with tuning.
Music stands: All ABRSM Centres provide a music stand, but candidates are welcome to bring their own if they prefer. The examiner will be happy to help adjust the height or position of the stand.
Order of the exam: The individual sections of the exam may be undertaken in any order, at the candidate’s choice, although it is always preferable for accompanied pieces to be performed consecutively.
Three pieces: one chosen by the candidate from each of the three Lists, A, B and C - 30 marks each
| No. | Composer | Piece information | Publication(s) |
|---|---|---|---|
| 1 | Albrechtsberger | Moderato 1st movt from Concertino (observing cadenza) |
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| 2 | Boyce arr. Lawton |
Trumpet Voluntary | |
| 3 | Percy Code | Zanette (Caprice) for Cornet (observing cadenza) |
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| 4 | Fiala | Allegro 2nd movt from Divertimento in D |
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| 5 | Handel, trans. Varasdy and Orbán | Adagio And Allegro (observing 8va in bb. 21–26) 1st movt And 2nd movt from Sonata (in Bb), Op. 1 No. 5 |
 No. 1 from Handel: Two Sonatas, trans. Varasdy and OrbánEditio Musica Budapest (Z.13933) More details |
| 6 | Hansen | Allegro con anima 3rd movt from Sonata for Cornet, Op. 18 |
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| 7 | J. N. Hummel | Andante 2nd movt from Trumpet Concerto |
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| 8 | Purcell arr. Blackadder and Gout |
Hark the Echoing Air from The Fairy Queen |
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| 9 | D. Wright | Canzonetta 2nd movt from Cornet Concerto |
| No. | Composer | Piece information | Publication(s) |
|---|---|---|---|
| 1 | Aroutiounian | Aria Or Scherzo No. 1 Or No. 2 from Aria et Scherzo |
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| 2 | Guy Barker | JW Shuffle | |
| 3 | L. Bernstein | Rondo for Lifey for Trumpet | |
| 4 | Britten arr. Calland |
The Spider and the Fly from Johnson over Jordan Suite |
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| 5 | Hubeau | Intermède 2nd movt from Sonata for Trumpet (fluttertonguing optional) |
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| 6 | Jock McKenzie | Too Hot to Handle! from Soprano Supreme |
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| 7 | Round | The Carnival of Venice (Air and Variations) | |
| 8 | Jonathan Warburton | Nichola for Trumpet or Flugelhorn | |
| 9 | Andrew Wilson | Blues Boulevard from Bebop to Rock for Trumpet |
| No. | Composer | Piece information | Publication(s) |
|---|---|---|---|
| 1 | Arban | Moderato in F No. 6 from 14 Studies for Cornet |
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| 2 | J. S. Bach arr. Piper |
Study in Ab Or Study in A from The Well-Tempered Player |
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| 3 | Derek Bourgeois | Presto No. 3 from Fantasy Pieces for Trumpet |
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| 4 | Jock McKenzie | Klezmer Or Samba from Rhythms of Life |
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| 5 | Mark Nightingale | The Chase Or Incoming Tied No. 18 Or No. 19 from Strictly Trumpety Tudes |
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| 6 | Philip Sparke | Air No. 11 from Super Studies for Trumpet, Cornet, Flugel Horn or Tenor Horn |
 No. 11 from Philip Sparke: Super Studies for Trumpet, Cornet, Flugel Horn or Tenor HornAnglo Music (AMP 114-401) More details |
| 7 | Allen Vizzutti | Funk from 20 Dances for Trumpet (ignoring lower notes in bb. 17, 30 & 31) |
Programme planning: Candidates must choose one piece from each of the three lists (A, B and C) in each grade. In the exam, they should inform the examiner which pieces they are performing, and they are welcome to use the Exam programme & running order form (PDF) for this purpose.
Accompaniment: All pieces in Lists A and B must be performed with a live piano accompaniment, whereas all pieces in List C must be performed solo. Candidates must provide their own accompanist, who may remain in the exam room only while accompanying. The candidate’s teacher may act as accompanist (examiners will not). If necessary, the accompanist may simplify any part of the piano accompaniment, provided the result is musically satisfactory.
Exam music & editions: Wherever the syllabus includes an arrangement or transcription, the edition listed in the syllabus must be used in the exam; in all such cases the abbreviation ‘arr.’ or ‘trans.’ appears in the syllabus entry. For all other pieces, the editions quoted in the syllabus are given for guidance only and candidates may use any edition of their choice (in- or out-of-print or downloadable).
Interpreting the score: Printed editorial suggestions such as fingering, phrasing, metronome marks, realization of ornaments etc. need not be strictly observed. Whether the piece contains musical indications or not, candidates are always encouraged to interpret the score in a stylistically appropriate manner. Ultimately, examiners’ marking will be determined by consideration of pitch, time, tone, shape and performance, and how control of these contributes to the overall musical outcome.
Repeats: All da capo and dal segno indications should be observed but all other repeats (including first-time bars) should be omitted unless they are very brief (i.e. of a few bars) or unless the syllabus specifies otherwise.
Cadenzas & tuttis: Cadenzas should not be played unless the syllabus specifies otherwise. Lengthy orchestral tutti sections should be cut.
Performing from memory: Candidates are free to perform any of their pieces from memory; in such cases they must ensure that a copy of the music is available for the examiner to refer to if necessary. No additional marks are awarded for playing from memory.
Page-turns: Examiners will be understanding if a page-turn causes a lack of continuity during a piece, and this will not affect the marking. A variety of solutions for awkward page-turns exists, including the use of an additional copy of the music or a photocopy of a section of the piece (but see ‘Photocopies’ below). In cases where candidates believe there is no solution to a particularly awkward page-turn, they may apply to bring a page-turner to the exam. The request must be made to the Syllabus Department no later than the closing date for entry, and details of the piece, edition and nature of the difficulty should be given. If permission is granted, a confirmation letter will be issued which must be taken to the exam as verification. Examiners are unable to help with page-turning. In a Grade 8 exam, a candidate’s accompanist is permitted to bring a page-turner to assist with page-turns in the piano part (prior permission is not required).
Photocopies: Performing from unauthorized photocopies (or other kinds of copies) of copyright editions is not allowed. ABRSM may withhold the exam result where it has evidence of an illegal copy (or copies) being used. In the UK, copies may be used in certain limited circumstances – for full details, see the MPA’s Code of Fair Practice at www.mpaonline.org.uk. In all other cases, application should be made to the copyright holder before any copy is made, and evidence of permission received should be brought to the exam.
21 marks
From memory, to be played slurred, legato-tongued and staccato in the following keys:
Scales: in the above keys (minors in both harmonic and melodic forms)
Chromatic Scales: starting on any note F#–B (Eb Cornet: F#–A) (two octaves)
Arpeggios: the common chords of the above keys for the ranges indicated
Dominant Sevenths: in the keys of C, Db and Eb (Eb Cornet: C and Db) (two octaves)
Diminished Sevenths: starting on Ab and A (two octaves)
Examiners will usually ask for at least one of each type of scale/arpeggio etc. required at each grade, as well as aiming to hear a balance of the specified articulations.
When asking for requirements, examiners will specify only:
All scales and arpeggios should:
The choice of breathing place is left to the candidate’s discretion, but taking a breath should not disturb the flow of the scale or arpeggio.
Arpeggios and dominant sevenths are required in root position only.
For transposing instruments, the naming of scales applies to the notation, not the concert pitch; for example, D major for trumpet in Bb will sound in C, not D.
Books of the scale requirements are published for all brass instruments by ABRSM.
21 marks
A short piece of previously unseen music.
Trumpet candidates only will also be asked to transpose up a tone a short piece approximately equivalent to a Grade 5 sight-reading test.
At all grades, candidates will be asked to play a short unaccompanied piece of music which they have not previously seen. They will be given up to half a minute in which to look through and, if they wish, try out all or any part of the test before they are required to play it for assessment. For practice purposes, books of specimen sight-reading tests are published for all brass instruments by ABRSM.
At Grades 6–8, Trumpet candidates only will be asked to transpose a short unaccompanied piece of music which they have not previously seen. They will be given up to half a minute in which to look through and, if they wish, try out all or any part of the test before they are required to play it for assessment.
18 marks
(i) To identify the cadence at the end of a phrase as perfect, imperfect or interrupted. The phrase will be in a major or minor key and will be played twice by the examiner. The chords forming the cadence will be in root position. Before the first playing, the examiner will play the key-chord.
(ii) To identify the two chords forming the above cadence. The chords will be limited to the tonic, subdominant, dominant, dominant seventh or submediant (all in root position). First the examiner will name and play the key-chord, then play the two chords as a pair. The candidate may answer using technical names (tonic, dominant, etc.), chord numbers (I, V, etc.) or letter names (C major, G major, etc.).
(iii) To identify whether the modulation at the end of a different passage is to the dominant, subdominant or relative minor. The passage, played once by the examiner, will begin in a major key. First the examiner will name and play the starting key-chord. The candidate may answer using technical names (dominant, subdominant, relative minor) or the letter name of the new key.
(i) To answer questions about two features of a piece played by the examiner. Before playing, the examiner will tell the candidate which two of the following features the questions will be about: dynamics, articulation, tempo, tonality, character, style and period, texture, structure.
(ii) To clap the rhythm of the notes in an extract from the same piece, and to identify whether it is in two time, three time, four time or 6/8 time. The examiner will play the extract twice (unharmonized), after which the candidate should clap back the rhythm. The examiner will then ask whether the music is in two time, three time, four time or 6/8 time.
Aural test requirements are the same for all subjects.
Listening lies at the heart of all good music-making. Developing aural awareness is fundamental to musical training because having a ‘musical ear’ impacts on all aspects of musicianship. Singing, both silently in the head and out loud, is one of the best ways to develop the ‘musical ear’. It connects the internal imagining of sound, the ‘inner ear’, with the external creation of it, without the necessity of mechanically having to ‘find the note’ on an instrument (important though that connection is). By integrating aural activities in imaginative ways in the lesson, preparation for the aural tests within an exam will be a natural extension of what is already an essential part of the learning experience.
Aural tests are an integral part of all Practical graded exams. The tests are administered by the examiner from the piano. For any test that requires a sung response, pitch rather than vocal quality is the object. The examiner will be happy to adapt to the vocal range of the candidate, whose responses may be sung to any vowel (or consonant followed by a vowel), hummed or whistled (and at a different octave, if appropriate).
A number of tests allow for a second attempt or for an additional playing by the examiner, if necessary. Also, where there is hesitation on the part of the candidate, the examiner will be ready to prompt, if necessary. In any such cases, this will affect the assessment. Marks are not awarded for each individual test nor deducted for mistakes but reflect the candidate’s overall response in this section.
Examples of the tests are given in new editions (from 2011) of Specimen Aural Tests and Aural Training in Practice, available for purchase from music retailers and from the ABRSM music shop.
Deaf or hearing-impaired candidates may opt to respond to alternative tests in place of the standard tests, if requested at the time of entry. Further information, including the syllabus for the alternative tests, is available at www.abrsm.org/specificneeds.
The pieces set in this syllabus may be played on a trumpet, Bb cornet, Eb soprano cornet or flugelhorn. All the pieces are published for instruments in Bb unless otherwise indicated. Some pieces may be offered on a trumpet in C, D, Eb or E where the syllabus indicates a published edition for these tunings (or where other suitable editions are available).
Eb Soprano Cornet: Candidates should ensure that the piano accompaniments are suitably transposed where necessary. In Grades 1 and 2, Eb Soprano Cornet candidates may choose their List A and/or B pieces from the Grades 1 and 2 lists set for Eb Horn.
Related instrument option: Candidates for any of the above four instruments (Trumpet, Bb Cornet, Eb Soprano Cornet, Flugelhorn) have the option of playing one piece on one of the other three instruments (there is no advantage to be gained over other candidates in taking this option). All other requirements must be performed using the instrument on which the candidate has entered.
New editions offering support to teachers preparing students for Practical exams.
